Lee Hyla's music is profoundly individual. Its extremes of expression are all unmistakable facets of one wide-ranging musical personality. Hyla has fashioned a personal language capable of both the simple, exquisitely polished opening of the String Quartet No. 3 and the raw Jerry Lee Lewis-like riffs in the Piano Concerto No. 2. This Jekyll-and-Hyde nature is to some extent the natural consequence of a musical background informed equally by classical music, improvisation, and rock-and-roll. What he brings from rock is its energy, and, on occasion, its brute power and rhythmic sensibilities, so different from those of jazz and classical music. From his classical training he brings a gift for musical organization and, unapologetically, a modernist aesthetic; from jazz, a melodic and gestural language that he separates from its traditional harmonic underpinnings. All of this makes for very exciting listening indeed: Hyla’s music is always direct, its drama visceral, its organic unity palpable.